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First Edition

ISBN 13: 978-0-9841193-7-0 ISBN 10: 0-9841193-7-x

Printed in China

10 11 12 13 8 7 6 5 4 3 2 1

www.LearnandMaster.com

SESSIONS PAGE

1) Starting Off Right 2String Names, Technique, Tuning, Finger Exercises,C & G7 Chords

2) Reading Music & Notes on the 1st & 2nd Strings 7Music Reading, 1st & 2nd String Notes & Exercises

Ode To Joy (CD #1 Tracks 2,3,4) 14Jingle Bells (CD #1 Tracks 5,6,7) 15

3) Notes on the 3rd & 4th Strings 16Ties, Dots, Repeat Signs, Eighth Notes,3rd & 4th String Notes & Exercises

Yankee Doodle (CD #1 Tr. 8,9,10) 21When The Saints Go Marchin' In (CD #1 Tr. 11,12,13) 21Aura Lee (CD #1 Tr. 14,15,16) 22

4) Notes on the 5th & 6th Strings 235th & 6th String Notes & Exercises, Sharps,Flats, Natural Signs, Am & E Chords

Minuet in C (CD #1 Tr. 17,18,19) 26Simple Gifts (CD #1 Tr. 20,21,22) 28The Star Spangled Banner (CD #1 Tr. 23,24,25) 29Minuet in G (CD #1 Tr. 26,27,28) 30

5) Basic Open Chords 31Open Chords & Chord Exercises 1-3

Morning Has Broken (CD #2 Tr. 2,3,4) 35America The Beautiful (CD #2 Tr. 5,6,7) 36

6) Minor Seventh & Suspended Chords 37Minor Seventh & Suspended Chords & Strumming Patterns

Scarborough Fair (CD #2 Tr. 8,9,10) 41Greensleeves (CD #2 Tr. 11,12,13) 42Island Groove (CD #2 Tr. 14,15,16) 42

7) Barre Chords on the 6th String 43Half-Steps & Whole Steps, 6th String Barre Chords & Exercises, Major Scales

Home on the Range (CD #2 Tr. 17,18,19) 47Yellow Rose of Texas (CD #2 Tr. 20,21,22) 47

8) Barre Chords on the 5th String 485th String Barre Chords & Exercises,Keys & Key Signatures, Relative Major & Minor

Jamaica Farewell in F (CD #2 Tr. 23,24,25) 51Jamaica Farewell in G (CD #2 Tr. 26,27,28) 51

9) The Secret to Great Strumming 52Strumming Technique, Intervals & Worksheets

La Bamba (CD #3 Tr. 2,3,4) 55The Wabash Cannonball (CD #3 Tr. 5,6,7) 56Blues in E (CD #3 Tr. 8,9,10) 56

10) Fingerstyle Guitar 57Technique & Exercises, Merle Travis & Classical

House of the Rising Sun (CD #3 Tr. 11,12,13) 61Canon in D (CD #3 Tr. 14,15,16) 62

Table of Contents SESSIONS PAGE

11) Pentatonic Scales 63Pentatonic Scales, Forms & Pentatonic Patterns

A Minor Pentatonic Blues (CD #3 Tr. 17) 66G Major Pentatonic (CD #3 Tr. 18) 66Around the Pentatonic World (CD #3 Tr. 19) 66

12) Advanced Chords 67Two Chords, Major 7th Chords, Minor 11th Chords,Exercises & Chord Substitution

Rockin' (CD #3 Tr. 20) 70Suspended Smooth (CD #3 Tr. 21) 70Acoustic Groove (CD #3 Tr. 22) 70

13) Playing the Blues 71Blues Scale, Minor Pentatonic with Blues Notes,Blues Chord Progression, Triads & Worksheets

Jammin the Blues (CD #4 Tr. 2,3) 75Johnny’s E Blues (CD #4 Tr. 4,5) 75

14) Giving Your Playing Some Style 76Sliding, Bends, Hammer-ons, Pull-offs, Tapping & Harmonics

Bending the Blues (CD #4 Tr. 6) 78Jazz Octaves (CD #4 Tr. 7) 79The Funky Mute (CD #4 Tr. 8) 79

15) Electric Guitars-The Heart of Rock & Roll 80Power Chords, Chicken Pickin', Country Bends,Arpeggios, Sliding 4ths, Harmonized Major Scale

Power Chord Rock (CD #4 Tr. 9) 84Power Riffs (CD #4 Tr. 10) 84

16) Advanced Strumming 8516th Notes, Strumming & Exercises

Rolling Along (CD #4 Tr. 11) 87A Little Bit Rocky (CD #4 Tr. 12) 88Electric Funk (CD #4 Tr. 13) 88

17) Going Beyond the First Position 893 Note on a String scales, Seventh Chords

Triplet Scale Practice (CD #5 Tr. 2,3,4) 91Pop Ballad Groove (CD #5 Tr. 5) 92ZZ Shuffle (CD #5 Tr. 6) 92

18) Jazz 93Jazz Chords & Chord Progressions

Swingin (CD #5 Tr. 7,8) 96Jazz Blues (CD #5 Tr. 9) 97

19) Soloing 98Soloing Techniques & Ear Training

Ear Training Exercises (CD #5 Tr. 10,11,12) 100Stevie's Groove (CD #5 Tr. 13) 101

20) All the Chords You Need To Know 102Chord Formulas, Abbreviations & Inversions

Chord Exercise 1 (CD #5 Tr. 14) 104Chord Exercise 2 (CD #5 Tr. 15) 105Friend (CD #5 Tr. 16) 105Funky Groove (CD #5 Tr. 17) 105

SESSION 1- Starting Off Right

SESSION 1 2 Starting Off Right

Learn & Master Guitar

“It's easy to play any musical instrument: all you have to do is touchthe right key at the right time and the instrument will play itself.”

~ J.S. Bach

The Parts of the GuitarThere are three main types of guitars, the steel-string acoustic,the nylon string or classical guitar, and the electric guitar.

Bracing your hand gives your hand theneeded stability to accurately switchbetween strings. Although there aremany different ways to brace, placingyour pinky on the soundboard rightbelow the first string is the most com-mon way. You don't need to press hard.

Proper Right Hand TechniqueHold the pick between your thumb andfirst finger. The thumb and pickshould form a 90 degree angle. Thepick should be sticking out fromunderneath the thumb a 1/4 to 1/2 ofan inch.

Body

Bridge

Frets

Headstock

Pick Guard

Sound Hole

Neck or Fretboard

Tuning Keys

Estimated Time to Learn These Concepts - 1 Week

E A D G B E E A D G B E

4

5

6

3

2

1

12

34

56

Proper Left Hand TechniqueHold your thumb on the back ofthe fingerboard on the upper sideof the neck. Be careful not to putyour thumb on top of the neck.Your wrist should be low withsome air space between yourpalm and the neck of the guitar.

Your four fingers should be evenlyspaced. Notice how the middletwo fingers are coming straightonto the fretboard. Your first andfourth fingers are curved slightlytoward the frets.

The Names of the StringsThe six strings of a guitar are numbered from first to sixthstarting on the thinnest string and counting up to the thick-est string. The strings also have letter names that corre-spond to each string. Memorize the names of your strings.

Tuning the GuitarYour guitar will need to be tuned before playing. Tuning involves tightening or loosening the strings to raise or lower the pitchto match a constant pitch. There are three main ways to tune your guitar. You can tune your guitar by using an electronictuner, or you can tune by “ear” using the other strings of the guitar, or you can tune to a keyboard.

Tuning with an Electric Tuner

Many electric tuners come with a built in microphone for use with an acoustic gui-tar. If you are using an electric guitar you can plug your instrument cable directlyinto the tuner. According to the directions of your specific tuner, it will displaywhether you need to tighten or loosen the string in order to be in tune. Electrictuners are an easy to use, fast, and accurate way to tune your guitar.

Tuning by Ear

You can also tune your guitar by listening carefully to the other strings and tuning each string to the others. Here is the process.

· Put your finger on the fifth fret of the sixth string. Now, play the sixth string and the open fifth string. Listen to thetwo pitches. If the open fifth string sounds lower than the sixth string then tighten the fifth string tuning key untilthe two notes match. If the open fifth string sounds higher than the first note then loosen the fifth string tuning key.You always adjust the tuning keys of the open string, not the string that you are fretting.

· Next, play the fifth fret on the fifth string and the open fourth string underneath it. Listen to the two pitches care-fully and adjust the open fourth string accordingly.

· Play the fourth string at the fifth fret. Listen and tune the open third string to it.

· To tune the second string, play the third string at the fourth fret and tune the open second string to it. This is theonly string that does not use the fifth fret as the reference.

· Lastly, play the second string fingered back at the fifth fret and tune the open first string to it.

Tuning to a Keyboard

You can also tune your guitar to a keyboard or piano.The open strings of a guitar correspond to certain notes on a keyboard.



EADGBE

B

6th string5th string

4th string3rd string

2nd string

1st string5th Fret

1st string

6th string

5th string

4th string

3rd string

2nd string

E A D G B E

Middle C

A

DG

E

How to Read Guitar TablatureTABLATURE is a type of musical notation that guitarists have developed to describe what strings on the guitar are beingplayed at any point and what frets need to be fingered.

Figure 1 Figure 2 Figure 3The Tablature Staff Single Notes in Tablature Chords in Tablature

Finger ExercisesThese finger exercises are designed to build coordination between your right and left hand. Proper picking and fingering handcoordination is vital to good controlled guitar playing.

Directions: Play each finger pattern on each string. Start on the first string, then the second, third, etc... Although a little dif-ficult at first, these exercises quickly build the motor skill control needed to play the guitar effectively. Practice with an even,steady rhythm. The goal is control, not speed.

Right Hand Picking: Down-Up-Down-Up Repeat for all Strings

Right Hand Picking: Down-Up Repeat for all Strings

Right Hand Picking: All Down Repeat for all Strings



TAB

1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 3 3 3 3 2 2 2 2 1 1 1 1

1.

TAB

1 1 2 2 3 3 4 4 3 3 2 2 1 12.

TAB

1 2 3 4 3 2 1

3.

1 33

21 0

0

The numbers tell you which frets you need toput your fingers on and which strings to use.In this example you would play the first stringfretted at the first fret. The next note wouldbe the first string at the third fret. Then, thesecond string at the third fret and so on.

In this example you would play all of thestrings at the same time. The first, secondand sixth strings would be open. Your firstfinger would fret the first fret on the thirdstring. The fourth and fifth strings would havefingers on the second frets of each string.

Strings

1st - E2nd - B3rd - G4th - D5th - A6th - E

TABThe 6 lines correspond to the 6 strings onyour guitar.

001220

TAB

TAB

Repeat for all Strings

Repeat for all Strings

How to Read Chord BlocksCHORD BLOCKS are diagrams that tell you how a chord is to be played. They include information about which frets are to beplayed by which fingers and which strings are to be played or not.

Session 1 Assignment



TAB

1 2 1 3 1 4 1 3 1 2 1

4.

TAB 4 3 4 2 4 1 4 3 4 2 4 1

5.

Strings6th 5th 4th 3rd 2nd 1stE A D G B E

Nut

1st Fret

2nd Fret

3rd Fret

4th Fret

Chord Name CDon’t Play String

1

2

3

Put 2nd Finger on4th String at 2nd Fret

Put 3rd Finger on 5th String at 3nd Fret

Put 1st Finger on 2nd String at 1st Fret

Play Strings Open

· An open circle means playthe appropriate string open.

· A filled circle means playthe note on that particularfret and string.

· An X means to not playthat string.

· Do all finger exercises on all of the strings daily until there is no soreness in fingers and they can be playedwithout hesitation. (pages 4-5)

· Memorize the names of the strings. (page 2)

· Practice the C & G7 chord exercises. Each note should sound out clearly. Try not to hesitate between chords.(page 6)

The C and G7 ChordsThe first two chords to be learned are the C and G7. Form and play each chord. The numbers tell you which fingers to use.The C chord uses only 5 strings, so be careful not to play the sixth string. The G7 uses all six strings.

Chord Exercises



1.C G7 C G7 C

3.C G7 C G7 C

Strum chord for each slash.

1

2

3

1

2

3

7C G

2.C G7 C

Strum chord for each slash.

Practicing is the Only Way to ImproveIn order to make good progress, you should practice at least 15 minutes a day. If you can do 30 minutes, thatwould be great. You will only improve with effort. Consistent daily practice yields better results faster.

How to Read MusicMusic is written on a STAFF which has 5 lines and 4 spaces. Music is read from left to right just like you wouldread a book. Where the note is on the staff tells you how high it is or how low it is in pitch. The note can be on aline or a space. Each line of the staff has a letter name that goes with it. The musical alphabet goes from A to G.

The Music Staff Notes on a Line Notes on a Space

RhythmThere are four main types of notes that vary according to how long they are played.

Types of Notes

SESSION 2 - Reading Music &Notes on the1st &2nd Strings

SESSION 2 7 Reading Music & Notes on the 1st & 2nd Strings


“Music is what feelings sound like.”~ Anonymous

Estimated Time to Learn These Concepts - 2 Weeks

5th Line

4th Line

3rd Line

2nd Line

1st Line

4th Space

3rd Space

2nd Space

1st Space

High Note

Low Note

5th Line

4th Line

3rd Line

2nd Line

1st Line

Remember them by learning:Every Good Boy Does Fine

EThe notes on the spaces convenientlyspell the word FACE.

G B D F 4th Space

3rd Space

2nd Space

1st Space

WHOLE NOTE

4Beats

HALF NOTE

2Beats

QUARTER NOTE

1Beat

EIGHTH NOTE

1/2Beat

F AC E

Types of Rests

Music is made up of sound and silence. The notes tell you when to play and the rests tell you when not to play.

Treble Clef, Time Signatures,Barlines & Measures

The Notes on the E or First String



WHOLE REST

4Beats

HALF REST

2Beats

QUARTER REST

1Beat

EIGHTH REST

1/2Beat

TOP NUMBER = How Many Beats in each Measure

BOTTOM NUMBER = What Kind of Note Gets the Beat

Time Signature

Treble Clef

Barline Barline

Measure Measure Measure

EndingBarline

E F G

First String Open

First StringFirst FingerFirst Fret

First StringThird FingerThird Fret

1

3

First String ExercisesInstructions: Write above each note the letter name of the note. Play each exercise using the correct finger foreach note.



1.E F G

Half Notes get 2 Beats.2.

Quarter Notes get 1 Beat.3.

4.

Whole Notes get 4 Beats.

More First String ExercisesInstructions: These exercises do not have the tablature included. Try to read the music and play slowly. Write inthe notes if needed. Play each exercise. Remember to use the correct finger for each note.

The Notes on the B or Second String



3.

4.

5.

2.

Continue to next line.

Second String Open

Second StringFirst FingerFirst Fret

Second StringThird FingerThird Fret

B C D

1.

1

3

Second String ExercisesInstructions: Write above each note the letter name of the note. Play each exercise using the correct finger foreach note. Practice slowly. Remember to give each note the proper number of beats.

More Second String ExercisesInstructions: Try to read the music and play slowly in an even rhythm. Write in the notes if needed. Play througheach exercise until there is no hesitation between notes.



1.

2.

3.

4.

B C D

1.

2.

3.

4.

1.

First and Second String ExercisesInstructions: Play each exercise slowly in an even, steady rhythm. Be careful to use the correct finger for each note.



5.

2.

3.

More First and Second String ExercisesInstructions: Try to read the music and play slowly in an even rhythm. Write in the notes if needed. Play througheach exercise until there is no hesitation between notes.




4.

1.

2.

3.

Quarter rest, 1 Beat.

Half rest, 2 Beats.

4.

5.

6.

· Play through all of the First and Second String Exercises several times. (pages 9-13)

· Play Ode To Joy, both notes and chords. Write in letter names of notes. (page 14)

· Play Jingle Bells, both notes and chords. Write in letter names of notes. (page 15)

Ode to JoyLudwig van Beethoven

(1770-1827)



Jam Along CD #1Track 2 - Slow VersionTrack 3 - Medium VersionTrack 4 - Fast Version

Theme from Symphony #9

Play the notes then practice strumming the correct chord for each beat. If a measure does not have a chord change over it then continueto play the previous chord until the chord changes.



Jingle BellsJam Along CD #1Track 5 - Slow VersionTrack 6 - Medium VersionTrack 7 - Fast Version

.

SESSION 3- Notes on the 3rd& 4th Strings

TiesA TIE combines the rhythmic values of two notes and is represented by a curved line between two notes of the samepitch. The first note is played for the duration of both notes and the second note is not played.

DotsA DOT following a note changes the rhythmic value of the note. DOTS add one half of whatever note value they areattached to.

Repeat SignsA REPEAT SIGN is a double bar line with two dots. It means to repeat a section of music. You would repeat back towhere a previous backwards repeat sign was or to the beginning of the song, whichever comes first.

SESSION 3 16 Notes on the 3rd & 4th Strings


“I would teach children music, physics, and philosophy; but most importantly music, for in the patterns ofmusic and all the arts are the keys of learning.”

~ Plato


1. 2.

DOTTED HALF NOTE

3Beats(2+1)

DOTTED WHOLE NOTE

6Beats(4+2)

DOTTED QUARTER NOTE

1 1/2Beats

(1+1/2)

Repeat back to beginning Repeat these two measures then proceed on

Eighth NotesAn EIGHTH NOTE receives 1/2 a beat so it takes two of them to make 1 beat. If you have several eighth notestogether, they are grouped together by a beam.

Eighth Note ExercisesInstructions: Play slowly in an even rhythm. Write in the notes if needed. Play through each exercise. Try not tohesitate between notes. When you have several eighth notes of the same pitch in a row, then alternate your pick-ing (Down-Up-Down-Up).



EIGHTH NOTE EIGHTH NOTES BEAMED TOGETHER

1.

2.

3.

4.

5.

6.

3.

The Notes on the G or Third String

Third String ExercisesInstructions: Play each exercise using the correct finger for each note. Write in the notes if needed.



Third String Open

Third StringSecond FingerSecond Fret

1.

2.

G A

2

The Notes on the D or Fourth String

Fourth String ExercisesInstructions: Play each exercise using the correct finger for each note. Write in the notes if needed.



4.

D E F

Fourth String Open

Fourth StringSecond FingerSecond Fret

Fourth StringThird FingerThird Fret

1.

2

3




2.

3.

4.

· Play through the Eighth Note Exercises until they can be played without hesitation. (page 17)

· Play through all of the Third and Fourth String Exercises several times. (pages 18-20)

· Play Yankee Doodle, both notes and chords. Write in letter names if you need to. (page 21)

· Play When The Saints Go Marchin’ In. (page 21)

· Play Aura Lee. (page 22)

Yankee Doodle

When The Saints Go Marchin’ In





This song includes chords that are covered in

Session 5 (page 31).

Aura Lee



This song includes chords that are covered in

Session 5 (page 31).


The Notes on the A or Fifth String

SESSION 4 23 Notes on the 5th & 6th Strings


“Playing guitar is an endless process of running out of fingers.”~ Harvey Reid, Fingerstyle Guitarist


Fifth String Open

Fifth StringSecond FingerSecond Fret

Fifth StringThird FingerThird Fret

A B C

SESSION 4- Notes on the 5th& 6th Strings

2

3

The Notes on the E or Sixth String

Fifth and Sixth String ExercisesInstructions: Play each exercise using the correct finger for each note. Write in the notes if needed.



Sixth String Open

Sixth StringFirst FingerFirst Fret

Sixth StringThird FingerThird Fret

1.

2.

E F G1

3

Notes in the First Position

C Major Scale Example



3.

4.

E F G A B C D E F G A B C D E F G

6th String 5th String 4th String 3rd String 2nd String 1st String

Minuet in CJ.S. Bach

(1685-1750)

Sharps, Flats, and Natural Signs

Sharps

SHARPS raise up any note one half-step or one fret. The sharp sign appears before the note that is to be sharped.Remember to use the correct finger for each fret.

Flats

FLATS lower any note one half-step or one fret.

Open String Flat Rule: When flatting an open string go to the next lower string and play the fourth fret with yourfourth finger. The one exception to this rule is the Bb on the third string third fret.




A sharp or a flat affects not just the note it is by, but every note of the same name that follows it for the entire measure.

Example

Naturals

A NATURAL SIGN cancels out a previously used sharp or flat and restores it to its normal position.

The A Minor and E Chord

Chord Exercises



A E1

32 32

1

1.

m

2.


Simple Gifts



3.


All F's are sharped throughout the whole song.

· Play through all of the Fifth and Sixth String Exercises several times. (pages 24-25)

· Play through and memorize the Notes in the First Position. (pages 25)

· Play Minuet in C. (page 26)

· Play Simple Gifts. (page 28)

· Play The Star Spangled Banner. (page 29)

· Play Minuet in G. (page 30)

Key Signature = F#

13



The Star Spangled Banner

Francis Scott Key & John Stafford Smith


Minuet in GJ.S. Bach

(1685-1750)




Key Signature = F# All F's are sharped throughout

the whole song.

SESSION 5- Basic Open Chords

SESSION 5 31 Basic Open Chords


“Being good is not about playing fast, it's about thinking fast.”~ Anonymous

1

2

3

1

2

3

1

2 3

1

2 3

1

2

3

4

2

3

1

2 3

32

1

2 3 4

1 2

3

1

2

3 4

432 2 3

1

2

C C

D D D

E E E

G G B

A A A

7

7

7

7

7m

m

m

7


Basic Open Chord Exercises - 1

Learning the C, G7, Am, E, & Dm chords



1.

2.

3.

4.

5.

6.

This chord uses 5 strings. This chord uses 6 strings.

Strum chord for each beat.

6 string chord

4 string chord

5 string chord

Strum chord down & up for each eighth note pair.

C G7

Am E

C Am

Am Dm

Dm G7

C Am Dm G7


Learning the G, D7, Em, & B7 chords



6 string chord 4 string chord


Use your finger tips to get all of the notes to sound properly.

Watch your rhythm carefully!

G D7

C D7

B7 Em

Am B7

G Em

G D7 Em B7

1.

2.

3.

4.

5.

6.


Learning the D, C7, A, A7 & E7 chords





D A

A7

A7

A D

C7

Em Em

Em

Am G7DmC

E

B7

E7

G C7 D7

1.

2.

3.

4.

5.

6.

6 string chord

Change chords quickly to not break the rhythm.


MorningHas Broken




· Memorize the Basic Open Chord Forms. (page 31)

· Play through Basic Chord Exercises 1, 2 & 3. (pages 32-34)

· Play Morning Has Broken, both notes and chords. (page 35)

· Play America the Beautiful. (page 36)

AmericaThe Beautiful

Samuel A. Ward




Key Signature = F# All F's are sharped throughout

the whole song.

SESSION 6- Minor Seventh & Suspended Chords

Open Minor Seventh Chords

Open Suspended Chords

Minor Seventh Chord ExercisesPracticing the Am7, Dm7, & Em7 chords.


“If music be the food of love, play on.”~ William Shakespeare

1

2

1

2

1

1

3 4

1

4

2

Alternate Fingering

13

4

2

3 4

3 42

A 7m D 7

m E 7m E 7

m

Asus Dsus Esus

SESSION 6 37 Minor Seventh & Suspended Chords


1.

2.

3.

Strumming with Ties Exercises

Suspended Chord ExercisesPracticing the Asus, Dsus, & Esus chords.

Three Basic Strumming Patterns



1.

2.

Strumming Pattern Without Tie Strumming Pattern With Tie

Down Down Up Down Down Down Up

Down Down Up Down Up Down Down Down Up Up Down

3.Down Up Down Up Down Down Up Down Up

1.

2.

3.

1. 2. 3.

Open Chords in the Key of C Practicing the C, Am, Am7, Dm, Dm7, G7, G, Em and Em7 chords



1.

2.

3.

4.

5.

6.

Open Chords in the Key of G Practicing the G, Am, Am7, C, D, D7, Dsus, Em & Em7 chords

Open Chords in the Key of D

Practicing the D, D7, Em, Em7, G, G7, A, A7 and Asus chords



1.

2.

3.

4.

5.

6.

1.

2.

3.


Scarborough Fair



4.

5.

6.

· Memorize the Open Minor Seventh and Suspended Chord Forms. (page 37)

· Play through the Chord Exercises in the Key of C, G, and D. (pages 39-41)

· Play Scarborough Fair, both notes and chords. (page 41)

· Play Greensleeves, both notes and chords. (page 42)

· Play Island Groove, both notes and chords. Use the given strumming pattern. (page 42)


Greensleeves

Island Groove




Am7 D7 G Em Am7

Em Am7 D7 G Em

Am E7 Am C G

Em Am7 Em C

G Am E7 Am


Half-Steps & Whole StepsA HALF-STEP is the distance from any note to the very next note. A WHOLE STEP is two half-steps put together. Ona guitar, each fret is a half-step apart. On a piano, each key, whether white or black, is a half-step apart from thenext key. Even though some white keys on a piano are next to each other, often they will have a black key inbetween them. The distance from the first white key to the in-between black key is a half-step. From a white keyto another white key, with a black key in between, is a whole step.

The only naturally occurring half-steps are between E to F and B to C.

Naturally occurring means that without using sharps or flats the intervals of E to F and B to C are the only adjacentpairs that are half-steps. Between these two intervals there is only a half-step difference. All of the other pairs ofadjacent notes, without sharps or flats involved, are whole steps.

On our keyboard there are no black keys between E - F and B - C. On a guitar, each of these two pairs of notes areside by side with no note in between them.

Notes on the Sixth String

SESSION 7 43 Barre Chords on the 6th String


SESSION 7 - Barre Chords on the 6th String

“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams inmusic. I see my life in terms of music. . . . I get most . . . in life out of music.”

~ Albert EinsteinF#

orGb

E F G A B C D E

G# or

AbA#

orBb

C# or

DbD#

orEb

E D C B A G F

12th Fret

Estimated Time to Learn These Concepts - 2-3 Weeks

Sixth String Barre Chords

The “1fr.” means to play that chord starting at the first fret. The arcs mean to cover all of the strings with one fin-ger. When you use one finger to cover more than one string it is called a BARRE. The note with a diamond is theroot of the chord and the note that you will pivot from to move the chord into different keys.

Sixth String Barre Chord ExercisesLearning the moveable F, F7, Fm, Fm7 & Fsus



2

1fr. 1fr.

2

3 3 4

1fr. 1fr. 1fr.

F 7mF F Fm

7 Fsus

1.

2.

3.

4.

5.

6.

1 1 1 1 11 1 1 11 1 11 1 111 1 11

2

3 4 43 3

Major ScalesMAJOR SCALES are the building blocks for all of music. Major scales are built on a specific pattern of half-step andwhole-step intervals. The pattern for a major scale is Whole-step, Whole-step, Half-step, Whole-step, Whole-step,Whole-step, Half-step. Starting on any note, if you follow this pattern you will build a major scale in the note's key.

Directions: Fill in major scale notes following the interval pattern. Determine the number of sharps or flats. Listsharps or flats in order. I have filled in some of the spaces for you.

Check your answers at www.LearnandMasterGuitar.com/answerkey

Whole Whole Half Whole Whole Whole Half What are they?

C _D_ _E_ ___ ___ ___ ___ ___ none _________________

The following scales all contain SHARPS.

G ___ ___ ___ ___ ___ _F#_ ___ _____ _F#,_____________

D ___ _F#_ ___ ___ ___ _C#_ ___ _____ __F#,C#,_________

A ___ ___ ___ ___ ___ ___ ___ _3 #'s _________________

E ___ ___ ___ ___ ___ ___ ___ _____ _________________

B ___ ___ ___ ___ ___ ___ ___ _____ _________________

F# ___ ___ ___ ___ ___ E#_ ___ _____ _________________

The following scales all contain FLATS.

F ___ ___ _Bb_ ___ ___ ___ ___ _____ _________________

Bb ___ ___ ___ ___ ___ ___ ___ _____ _________________

Eb ___ ___ _Ab ___ ___ ___ ___ _3 b's _________________

Ab ___ ___ ___ ___ ___ ___ ___ _____ _Bb,Eb,Ab,Db_____

Db ___ ___ ___ ___ ___ ___ ___ _____ _________________

Gb ___ ___ _Cb ___ ___ ___ ___ _____ _________________



How many#'s or b's?

Major Scale TableMajor Scales are the foundation upon which all of the upcoming theory is going to be built. Just like multiplica-tion tables need to be memorized, major scales and the key signatures that they generate have to be learned andmemorized. KEY SIGNATURES are the pattern of sharps or flats that each major scale generates.

Directions: Fill in the major scale notes on the following table. Remember, the naturally occurring half-steps are between E-F and B-C.





CF

BbEbAbDbGbF#BEADG

DA

EbBb

FC

GbE#

G#B

DF#

A

WholeStep

WholeStep

WholeStep

WholeStep

WholeStep

HalfStep

HalfStep

· Memorize the Notes on the Sixth String. (page 43)

· Memorize the 6th String Barre Chord Forms. (page 44)

· Play through 6th String Barre Chord Exercises. Make sure each chord is sounding clear and that the chordschange at the right time. (page 44)

· Play Home on the Range, both notes and chords. Try to use all barre chords. (page 47)

· Play Yellow Rose of Texas, both notes and chords. (page 47)

· Complete the Major Scale and the Major Scale Table Worksheets. (pages 45-46)

Home on the RangePractice using a mixture of open and barre chords

and then practice using all barre chords.

Yellow Roseof Texas







SESSION 8 - Barre Chords on the 5th String

“Music should be something that makes you gotta move, inside or outside.”~ Elvis Presley

A G F E D C B

12th Fret

B7

BsusB Bm Bm7

B

2 3 4 3 3 3 3 4

2

3 4 3

2

43

1.

2.

3.

1 1 1

Alternate Fingering

1 1 1

Estimated Time to Learn These Concepts - 2-3 Weeks

1 1 1 1 1 1 1 1

Notes on the Fifth String

Fifth String Barre Chords

Fifth String Barre Chord ExercisesLearning the moveable B, Bm, B7, Bm7 & Bsus

Keys & Key SignaturesKEY SIGNATURES are derived from the flats or sharps found in a major scale. Each major scale produces a uniquecombination of sharps or flats as its key signature. A key signature will never have both sharps and flats in it simul-taneously. The order of the sharps and flats in a key signature come in a predictable sequence. The key signatureorder of sharps is F#, C#, G#, D#, A#, E#. The order of flats is Bb, Eb, Ab, Db, Gb, Cb.

Directions: Using your major scales, determine the proper key and list the key signature. Put sharps or flats in theproper order.

Check your answers at www.www.LearnandMasterGuitar.com/answerkey

1) What key has 4 flats in its key signature? ______ What are they? ____ ____ ____ ____

2) What key has 3 sharps in its key signature? _____ What are they? ____ ____ ____

3) What key has 2 flats in its key signature? _____ What are they? ____ ____

4) What key has 4 sharps in its key signature? ______ What are they? ____ ____ ____ ____

5) In the key of G, what note(s) are sharped/flatted? ______________

6) In the key of F, what note(s) are sharped/flatted? ______________

7) In the key of C, what note(s) are sharped/flatted? ______________

8) In the key of Db, what note(s) are sharped/flatted? ______________

9) In the key of B, what note(s) are sharped/flatted? ______________

10) What key has 2 sharps in its key signature? _____ What are they? ____ ____

11) What key has 5 sharps in its key signature? _____ What are they? ____ ____ ____ ____ ____



4.

5.

6.

7.

12) If the key signature has a Bb and an Eb in it, what's the key? _______

13) If the key signature has an F#, C#, G#, and a D#, what's the key? _______

14) If the key signature is F# and C#, what's the key? _______

15) If the key signature is Bb, Eb, Ab, and Db, what's the key? _______

16) If the key signature is F#, C#, G#, D#, A#, and E#, what's the key? _______

Relative Major and Minor ScalesThere is a unique relationship between the keys of major scales and minor scales. This relationship is called RELATIVE.Relative major and minor scales share the same key signatures. To derive a relative minor scale: Go to the6th step of the major scale and build an 8 note scale in that key. You can get to the 6th step of any major scale byeither going up six steps from the root or down two steps. So, the C major scale and the A minor scale share thesame key signature. Therefore A is the relative minor of C major and conversely C is the relative major of A minor.




Theory Tips & Tricks...How to determine a key by looking at the key signature.

For Keys with Sharps: The key is one half-step up from the last sharp in the key signature.For example, if the key signature is F#, C#, G#, then the last sharp is G#. One half-stepup from G# is A. The key is A.

For Keys with Flats: The key is the next to last flat in the key signature.For example, if the key signature is Bb, Eb, Ab, the next to last flat is Eb. So, the key is Eb.

C Major Scale

A Minor Scale

D Minor Scale

F Major Scale

· Memorize the 5th String Barre Chord Forms. (page 48)

· Play through 5th String Barre Chord Exercises. Make sure each chord is sounding clear and that the chordschange at the right time. (pages 48-49)

· Play Jamaica Farewell in F, both notes and chords. Use 6th and 5th string barre chords. (page 51)

· Play Jamaica Farewell in G, both notes and chords. Use 6th and 5th string barre chords. (page 51)

· Complete the Keys & Key Signatures Worksheet. (pages 49-50)

Jamaica Farewell (in F)

Jamaica Farewell (in G)





G C D7 G

C D7 G

C D7 G

C G D G

Good Strumming Technique· Hold your pick firmly.· Keep your wrist loose.· Strum the accurate number of strings on the down stroke but on the up stroke just hit a few of the strings.· Strum smooth, even strums with no hesitations.

THE SECRET TO GREAT STRUMMING - KEEP YOUR HAND GOING!

Strumming with Eighth Notes

Strumming with Eighth Notes & Ties

SESSION 9 52 The Secret to Great Strumming


SESSION 9 - The Secret to Great Strumming

“Music produces a kind of pleasure which human nature cannot do without.”~ Confucius

1.

2.

3.

1.

2.


Diatonic IntervalsINTERVALS are the distance between two notes. DIATONIC refers to intervals that are found within the major scale.You will be given the key and a specific scale step and then you will need to derive the specific note. Here aresome examples …

1) In C, what is the 3rd step? The C scale is C - D - E - F - G - A - B - C. The 3rd step is E.

2) In A, what is the 6th? The A scale is A - B - C# - D - E - F# - G# - A. The 6th step is F#.

Diatonic Intervals WorksheetDirections: Fill in the correct note corresponding to the diatonic interval asked for.




3.

4.

1) In C, what is the 4th ? __F__

2) In F, what is the 6th ? __D__

3) In Ab, what is the 4th ? _____

4) The 4th in D is _____

5) The 6th in E is _____

6) In D, what is the 6th ? _____

7) In G, what is the 7th ? _____

8) In Db, what is the 2nd ? _____

9) The 2nd in F# is _____

10) The 3rd in D is _____

11) In G, what is the 5th ? _____

12) In D, what is the 7th ? _____

13) In A, what is the 3rd ? _____

14) The 6th in Gb is _____

15) The 7th in Db is _____

16) In Bb, what is the 6th ? _____

17) In F, what is the 7th ? _____

18) The 2nd in B is _____

19) The 3rd in F# is _____

20) The 3rd in Gb is _____

Harmonic IntervalsHARMONIC INTERVALS are intervals that have been raised or lowered a half step from their natural major scale(diatonic) position.

The intervals within a major scale are divided into two groups; MAJOR and PERFECT. The 2nd, 3rd, 6th, and 7th arereferred to as MAJOR INTERVALS. The 4th, 5th, and octave are referred to as PERFECT INTERVALS.

For MAJOR INTERVALS - If a major interval (2nd, 3rd, 6th & 7th) is lowered by a half step it is called MINOR. If amajor interval is raised a half step it is called AUGMENTED.

For PERFECT INTERVALS - If a perfect interval (4th, 5th & Octave) is lowered a half step it is called DIMINISHED.If it is raised a half step then it is also called AUGMENTED.

ENHARMONIC notes are two notes that have the same pitch but two different names.

Double Sharps and Double FlatsIf I need to lower an already flatted note, I just add another flat until I get to the pitch I need. For example,if you were asked to find the minor 3rd in Gb, you would solve the problem as follows. The 3rd in the key of Gb isa Bb. So to make it minor we would need to lower the Bb an additional half step making it a Bbb. So the correctanswer would be Bbb or B “double flat.”

Here is another example. If you were asked to determine the augmented 2nd in E, the problem would be solvedthis way. In the key of E the second is an F#. So to augment it I would need to raise it up an additional half stepmaking it an F## or F “double sharp.”

Remember to not answer the enharmonic equivalent of the note. In our previous example, an F## would alsobe a G. But a G would be the wrong answer to this problem because in the key of E a G would be a minor 3rd notan augmented 2nd.



MAJOR INTERVALS2nd 3rd 6th 7th

Lowered a 1/2 step - MINOR(flatted)

Raised a 1/2 step - AUGMENTED(sharped)

PERFECT INTERVALS4th 5th Octave

Lowered a 1/2 step - DIMINISHED(flatted)

Raised a 1/2 step - AUGMENTED(sharped)

Harmonic Intervals WorksheetDirections: Fill in the correct note corresponding to the harmonic interval asked for. Add double sharps or flatsif needed.


1) In C, what is the minor 6th ? _Ab__ 6) The minor 2nd in D is _____

2) In F, what is the augmented 2nd ? _G#__ 7) The augmented 6th in E is _____

3) In Bb, what is the diminished 5th ? _____ 8) The minor 7th in B is _____

4) In Eb, what is the minor 3rd ? _____ 9) The minor 6th of F# is _____

5) In Ab, what is the diminished 5th ? _____ 10) The minor 7th of G is _____


La Bamba



· Practice all of the Strumming Examples given. Start slowly, then gradually increase your speed. Rememberto use good technique and to always keep your strumming hand going. (pages 52-53)

· Play La Bamba, both notes and chords, using the strumming pattern given. (page 55)

· Play The Wabash Cannonball, both notes and chords, with the strumming pattern. (page 56)

· Play Blues in E, both notes and chords, with the strumming pattern. (page 56)

· Complete the Interval Worksheets. (pages 53, 55)


The WabashCannonball

Blues in E





E7

A7 E7

B7 A7 E7 B7 E

Keys to Good Fingerstyle Technique· Have a relaxed fingering hand.· Bring your thumb slightly forward.· Make sure each finger has freedom of movement.· Go SLOW. Speed will come as you gain control.

Fingerstyle Technique Exercises: Finger Pattern 1

Finger Pattern 1

Thumb - 1st - 2nd - 3rd

Directions: Play each exercise slowly in an even, steady rhythm using finger pattern 1. Slowly increase yourspeed only after you have control of your fingers.

SESSION 10 57 Fingerstyle Guitar


SESSION 10 - Fingerstyle Guitar

“One must make of one's fingers well drilled soldiers.”~ Fernando Sor, Classical Guitarist & Composer (1778-1838)

1.

2.


T

1 2 3


Finger Pattern 2

Thumb - 3rd - 2nd - 1st



3.

4.

1.

2.


Finger Pattern 3

Thumb - 2nd - 1st - 3rd

Merle Travis Fingerstyle Technique



1.

2.

1.



Giuliani Studies for Classical Guitar Mauro Giuliani (1781-1828)

1.

2.

2.




House of the Rising Sun

· Practice all of the Fingerstyle Exercises. Start slowly to gain control, then gradually increase your speed.(pages 57-59)

· Practice the Merle Travis and Giuliani Finger Style Exercises. (pages 59-60)

· Play House of the Rising Sun with fingerstyle accompaniment pattern. (page 61)

· Play Canon in D. Do one section at a time. It is a great song and worth the extra effort. (page 62)


Canon in D(Pachelbel’s Canon)Johann Pachelbel

(1653-1706)




What's a Pentatonic Scale?A PENTATONIC SCALE is a five note scale derived from the major scale. It uses the first, second, third, fifth, and sixthsteps of the major scale.

C Major Scale

C Pentatonic Scale

Relative Major & Minor RootsThere is a special relationship between the first and sixth step of the major scale which is called RELATIVE. The firststep of the major scale is called the RELATIVE MAJOR. The sixth step is called the RELATIVE MINOR. To find the rela-tive minor when given the relative major you would go up from the relative major six steps in the major scale. Youcould also go down two steps from the relative major to find the relative minor. After you find the relative major orminor root, you can then build the appropriate major or minor scale. Relative major and minor scales share the sameKEY SIGNATURE.

SESSION 11 63 Pentatonic Scales - The Foundation of Soloing


SESSION 11- Pentatonic Scales - The Foundation of Soloing

“Our musical minds know everything they have ever heard, while our hands know only what we'vetrained them to do.”

~ Chris Proctor, Fingerstyle Guitarist

1 2 3 4 5 6 7

1 2 3 5 6


The Five Pentatonic FormsSince there are five notes in a pentatonic scale, there are five different forms that we can use to play the scale if westart on each different note. These are the five forms of a C major pentatonic scale or an A minor pentatonic scale. Thediamond shows the major root and the open circle shows the minor root. On guitar, these five forms connect togeth-er like overlapping puzzle pieces as shown in the lower example.

D= Major Root = Minor Root

Pentatonic Forms Connect Together

Common Pentatonic PatternsDirections: These examples are given in pentatonic form #1. Practice each pattern. Begin slowly, then graduallyincrease speed. Try playing these patterns in different keys and places on the neck. Use all pentatonic forms.

Pattern #1 (Sets of 4)



5 fr. 7 fr. 9 fr. 12 fr. 2 fr.

1st Form 2nd Form 3rd Form 4th Form 5th Form

4th Form 3rd Form 2nd Form 1st Form 5th Form

Ascending

Descending

Pattern #2 (Sets of 3)

Pattern #3 (3 Pairs)




· Practice all of the pentatonic forms ascending and descending. Memorize them. (page 64)

· Practice the pentatonic forms in all of the keys. (page 64)

· Practice connecting them together to play in all the keys the full length of the guitar. (page 64)

· Practice the common pentatonic patterns in various keys and places on the neck. (pages 64-65)

· Practice soloing using pentatonic scales on A Minor Pentatonic Blues, G Major Pentatonic, and Around thePentatonic World. Make up your own solo using the scales suggested. (page 66)

Ascending and Descending

Ascending

Descending

A Minor Pentatonic BluesSlow Blues

G Major PentatonicMedium Groove

Around the Pentatonic WorldMedium Latin



Jam Along CD #3Track 17



Solo using the A MinorPentatonic Scale

Solo using a G MajorPentatonic Scale

Solo using the appropriate

Pentatonic Scale

Open Two Chords Moveable Two Chords

Open Major 7th Chords Moveable Major 7th Chords

Open Minor 11th Chords Moveable Minor 11ths

SESSION 12 67 Advanced Chords


SESSION 12 - Advanced Chords

“It's important to other musicians, but on records, fast picking doesn'tmean a thing. People want to hear melody and nice harmony.”

~ Chet Atkins

C2 D2 E2 G2 A2

32

1 1

3

1

2

4

2

1

3

2 3

F 2 B2 G2

13fr.

3

4

1

1 1 1

3 4

2

2fr.

3 4

1

Cmaj7 Dmaj7 Fmaj7 Gmaj7 Amaj7

2

3

1 1 1

1

2

3

1

2

1

2 3

4th String Root 5th String Root 6th String Root

E maj7 B maj7 Fmaj71

3 3 3

1 1

2

3 4

1 2

3 4

4th String Root 5th String Root 6th String Root


F m11 Bm11 Cm11 Gm11

3 42 32

4

11

3

4

2

1

2 3 4

5th String Root 6th String Root

1.

2.

Two Chord Exercises

Major 7th Exercises

Minor 11th Exercises



1.

2.

3.

1.

2.

Chord Substitution Examples




Normal

Substituted Chords

Normal

Substituted Chords

1.

2.

Theory Tips & Tricks...Substituting Chords.For Major Chords: To spice up any MAJOR chord, you can substitute a TWO chord.

For example, if the chord progression is a C to an F chord, then play a C2 to an F2.

For Minor Chords: To spice up any MINOR chord, you can substitute a MINOR 11TH chord.For example, if the chord progression includes a Dm, then play a Dm11 in it's place.

· Practice all of the advanced chord forms. Memorize them. (page 67)

· Play the Two Chord, Major 7th, Minor 11th and Chord Substitution Exercises. (pages 68-69)

· Play Rockin', Suspended Smooth, and Acoustic Groove with the Jam Along CD. (page 70)

Rockin’Medium Rock

Suspended SmoothSlow

Acoustic GrooveMedium Acoustic






What's a Blues Scale?A BLUES SCALE is derived from the major scale. Some notes are added and some notes are adjusted. To form a bluesscale, you add the flatted third and the flatted fifth. Also, adjust the seventh step of the major scale down a half stepto form a flatted seventh. The flatted third, fifth, and seventh would be called the BLUES NOTES.

C Major Scale

C Blues Scale

C Minor Pentatonic Scale

The C MINOR PENTATONIC scale already includes all but one of the blues notes. So, an easy way to sound bluesy isto play the minor pentatonic form. If you wanted to add the flatted fifth blues note, you would need to add one extranote to the form.

SESSION 13 71 Playing the Blues


SESSION 13 - Playing the Blues

“We all have idols. Play like anyone you care about but try to be yourself while doing so.”~ B.B. King, Legendary Blues Guitarist


1 2 3 4 5 6 7

1 2 b3 3 4 b5 5 6 b7

1 b3 4 5 b7

C Minor Pentatonic With Added Flatted 5th

If you wanted to add the flatted fifth blues note, you would just need to add one extra note to the minorpentatonic form.

Pentatonic Forms with Blues NotesBased on an A minor pentatonic.

= Minor Root = Blues Note

The Blues Chord ProgressionThe BLUES CHORD PROGRESSION consists of 12 measures which have a specific pattern of chords in the key. Thesechords are represented by Roman numerals.



Pentatonic 1st Formwith added blues note

= Added Blues Note

1st Form 2nd Form 3rd Form 4th Form 5th Form5fr. 7fr. 9fr. 12fr. 2fr.

I

IV I

V IV I

8fr.

1 b3 4 b5 5 b7

Blues Progression in C or C Blues

TriadsA TRIAD is a combination of three notes played together. A triad is made up of the FIRST, THIRD, and FIFTH notes ofthe major scale.

These scale tones are adjusted up or down according to a formula to form the different types of triads. The four maintypes of triads are MAJOR, MINOR, AUGMENTED, and DIMINISHED. The chart below shows each triad type and thecorresponding formula.



C

F C

G F C

C D E F G A B C

Triad Types Scale Tone Formulas

Major 1 - 3 - 5

Minor 1 - b3 - 5

Augmented 1 - 3 - #5

Diminished 1 - b3 - b5

Triad Examples in C1) A C Major triad would use the 1st, 3rd and 5th scale tones from the C major scale. So, a C Major triad would be C,

E and G.

2) A C Minor triad would use the same scale tones, but we would need to lower the 3rd a half step. So, a C Minor triadwould be C, Eb, and G.

3) A C Augmented triad would require us to raise the 5th step up a half step. So, a C Augmented triad would be C, E,and G#.

4) A C Diminished triad would have us lower the 3rd and the 5th scale tone down a half step. This would make a CDiminished triad be C, Eb, and Gb.

Triad WorksheetDirections: Fill in the proper letter names for each triad.


1) F Minor _F__ _Ab_ _C__

2) G Major _G__ _B__ _D__

3) C Diminished ____ ____ ____

4) Bb Augmented ____ ____ ____

5) Eb Major ____ ____ ____

6) D Minor ____ ____ ____

7) A Diminished ____ ____ ____

8) Ab Major ____ ____ ____

9) E Minor ____ ____ ____

10) C Minor ____ ____ ____




11) F Major ____ ____ ____

12) G Minor ____ ____ ____

13) Bb Diminished ____ ____ ____

14) D Augmented ____ ____ ____

15) Eb Minor ____ ____ ____

16) A Major ____ ____ ____

17) Ab Minor ____ ____ ____

18) E Augmented ____ ____ ____

19) Db Major ____ ____ ____

20) B Minor ____ ____ ____

· Practice all of the Pentatonic Forms with Blues Notes in all keys for the full range of the guitar. (page 72)

· Memorize the Blues Chord Progression. (pages 72-73)

· Memorize the four Triad Types and complete the Triad Practice Worksheet. (pages 73-74)

· Play Jammin the Blues and Johnny’s E Blues with the Jam Along CD. Practice playing the chords and solo-ing using the pentatonic forms with blues notes. (page 75)

Jammin the BluesSwing Jazz

Johnny's E Blues



Jam Along CD #4Track 2 - Slow VersionTrack 3 - Fast Version

Jam Along CD #4Track 4 - Slow VersionTrack 5 - Fast Version

Solo using the C minorpentatonic scale withthe added blues note.

Solo using the E minorpentatonic scale withthe added blues note.

Sliding to NotesSLIDING involves approaching a note from above or beneath, usually from a half step or whole step.

Sliding RiffIn C, on 5th String

In F, on 6th String

SESSION 14 76 Giving Your Playing Some Style


SESSION 14 - Giving Your Playing Some Style

How many guitar players does it take to change a light bulb? Five. One to change it andthe other four to say “I could do that.”


1.

2.

BendsBENDS involve playing a note and then bending the string, either a half or whole step, toanother pitch. Always bend to a specific pitch. Normally, you would use your third orfourth finger (pinky) to bend with the other fingers helping.

Major Scale Bending Exercise

Hammer-onsA HAMMER-ON is a technique with whichyou pick the first note, then by hitting yourfretting finger hard on the fretboard you getthe second note to sound without picking it.

Pull-offsA PULL-OFF is a technique where you pickthe first note then pull off your fretting fingerso that the remaining fretted note soundswithout picking it.

TappingTAPPING is a technique combining hammer-ons and pull-offs. It also incorporates reaching over with your picking handto hammer on a note on the fretboard.



A minor Pentatonic Scale

= Notes that aregood to bend.

Major Scale in Harmonics Example


Bending the BluesSlow Blues



· Practice the Major Scale Bending Exercise. Bend accurately to the correct pitch. (page 77)

· Practice the Sliding Riff on the fifth and sixth string. Do it in various keys. (page 76)

· Practice Palm Muting on the pentatonic scales. Go for a consistent, good muted string tone.

· Practice the Jazz Octaves technique.

· Play Bending the Blues, Jazz Octaves, and The Funky Mute with the Jam Along CD. (pages 78-79)


Solo using the A minorpentatonic scale bending

the correct notes.

Jazz OctavesSwing Feel

The Funky MuteMedium Funk




Play the melody using jazzoctaves then solo in the

key of Bb.


Use palm muting startingat the 5th position.

Power ChordsPOWER CHORDS are chords that only use the root and 5th steps of the major scale. The chord symbol is abbreviatedto the root and the number 5 (ie. C5, F5). They are played using two or three strings. The examples shown includethree strings. To play the two string version, just omit the highest pitch played with your fourth finger.

Moveable Power Chords Open Power Chords

Power Chord Exercises

SESSION 15 80 Electric Guitars - The Heart of Rock & Roll


SESSION 15 - Electric Guitars - The Heart of Rock & Roll

“We don't like their sound, and guitar music is on the way out.”~ Decca Recording Company rejecting the Beatles 1962


F5 B5 E5 A5 G5 D5

3

1

4

1

3 4

2 3 2 3

3 42 3

2

1.

2.

5th String Form 6th String Form

Country Chicken Pickin’ ExercisesEntire Phrase in A



3.

4.

In E

In D

Country Bends Example

Country Arpeggio Example



In G

In A

SESSION 15 83 Electric Guitars - The HEart of Rock & Roll


Sliding Fourths ExampleSLIDING FOURTHS are built off of the root orthe fifth with the two notes used being theroot or the fifth and the fourth below.

The Harmonized Major ScaleA HARMONIZED MAJOR SCALE is a specific pattern of chords that are derived from the major scale. A triad is built oneach note of the major scale. In the key, start on 1-3-5 and then move up a scale step for each note (ie… 2-4-6 3-5-7 4-6-8 and so on). These combinations of notes form triads in the same predictable pattern for every key. Thetriads built on the first, fourth, and fifth scale steps end up becoming MAJOR CHORDS. The triads built on the second,third, and sixth scale steps become MINOR CHORDS. The triad built on the seventh scale step is a DIMINISHED CHORD.This pattern of chords is consistent in every key.


· Practice Power Chords and Power Chord Exercises. Change chords accurately and quickly. (pages 80-81)

· Practice Chicken Pickin' Exercises and make up some on your own. (pages 81-82)

· Practice the Sliding 4ths Exercise. Practice moving to various keys. (page 83)

· Play Power Chord Rock and Power Riffs with the Jam Along CD. (page 84)

In A

MAJOR CHORDS1st, 4th, 5th

I, IV, V

In any key, triads built off of the 1st, 4th, and 5th scale steps become

MAJOR CHORDS.

MINOR CHORDS2nd, 3rd, 6th

ii, iii, vi

In any key, triads built off of the 2nd,3rd, and 6th scale steps become

MINOR CHORDS.

DIMINISHED CHORD7th

vii diminished

In any key, a triad built off of the 7thscale step becomes a DIMINISHED CHORD.

Power Chord RockUp Tempo Rock

Power RiffsMedium Heavy Rock




Solo in the key of G.


Play the power chord melodythen solo on E minor pentatonic.

SESSION 16 85 Advanced Strumming - Going Beyond the Basics


Sixteenth NotesSIXTEENTH NOTES are the smallest subdivision of notes that you are likely to see as a guitar player. There are FOURsixteenth notes for every beat.

Sixteenth Note Strumming Exercises

SESSION 16 - Advanced Strumming - Going Beyond the Basics

“A good instrument is really an inspiration. When you have a truly fine instrument, suddenlyeven the most simple things sound good.”

~ Mason Williams - Guitarist on the song “Classical Gas”


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Strumming with Accents Exercises



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Strumming Exercises


Rolling AlongRelaxed Acoustic Feel



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· Practice all sixteenth note strumming exercises with open and barre chords. Start slowly then graduallyincrease speed. (pages 85-87)

· Experiment with making up your own strumming patterns.

· Play Rolling Along, A Little Bit Rocky, and Electric Funk with the Jam Along CD. (pages 87-88)


A Little Bit RockyAggressive Acoustic

Electric FunkMedium Funk Groove





Three Note on a String ScalesTHREE NOTE ON A STRING SCALES are a way of playing major scales on a guitar that help you learn the notes on theentire neck of your guitar and also help you with developing speed, triplet technique, and soloing.

SESSION 17 89 Going Beyond the First Position


SESSION 17- Going Beyond the First Position

“Playing scales is like a boxer skipping rope or punching a bag. It's not the thing in itself,it's preparatory to the activity.” ~ Barney Kessel, Jazz Guitarist

Estimated Time to Learn These Concepts - 4 Weeks or more

Seventh ChordsA SEVENTH CHORD is a combination of FOUR notes played together.

Seventh Chord WorksheetDirections: Fill out the appropriate scale tones in each seventh chord. Remember to adjust them as needed to ful-fill the formula for the triad type. Use double sharps or flats as needed.




C D E F G A B CThere are SIX common types of sev-enth chords. With the addition of theseventh scale step, the number ofways all these tones can be adjustedadds up to more chord variations.Although these are not all of the pos-sible combinations, the followingchart shows the most commonlyused forms.

Seventh Types Formulas AbbreviationsMajor 7th 1 - 3 - 5 - 7 Cmaj7, C 7Minor 7th 1 - b3 - 5 - b7 Cmin7, Cm7, C-7Dominant 7th 1 - 3 - 5 - b7 C7, C7, G7, D7Augmented 7th 1 - 3 - #5 - b7 Caug7, C+7Diminished 7th 1 - b3 - b5 - bb7 Cdim7, C , C 7Half-Dim. 7th 1 - b3 - b5 - b7 C half-dim, C 7

1) Gmaj7 ____ ____ ____ ____

2) Cm7 ____ ____ ____ ____

3) F+7 ____ ____ ____ ____

4) Bb7 ____ ____ ____ ____

5) Eb ____ ____ ____ ____

6) Abm7 ____ ____ ____ ____

7) Db7 ____ ____ ____ ____

8) F#min7 ____ ____ ____ ____

9) Baug7 ____ ____ ____ ____

10) E7 ____ ____ ____ ____

11) Bbm7 ____ ____ ____ ____

12) Ebmaj7 ____ ____ ____ ____

13) Ab+7 ____ ____ ____ ____

14) C# 7 ____ ____ ____ ____

15) Gbmaj7 ____ ____ ____ ____

16) Bmin7 ____ ____ ____ ____

17) E 7 ____ ____ ____ ____

18) A7 ____ ____ ____ ____

19) Dm7 ____ ____ ____ ____

20) Gaug7 ____ ____ ____ ____

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Triplet Scale Practice



· Practice Three Note on a String Scales for the full range of the instrument. (page 89)

· Practice the seven scale forms in all twelve keys. Say the notes while playing them.

· Incorporate Hammer-Ons and Pull-Offs as you play the scale forms. Try ascending in one form and descend-ing in the next form. Try playing triplets.

· Play Triplet Scale Practice, Pop Ballad Groove, and ZZ Shuffle with the Jam Along CD. (pages 91-92)


Pop Ballad GrooveThis song uses a FIRST and SECOND ENDING. First and Second Endings are a way to repeat a section of music withslightly different endings. The first time through, you play the music, take the first ending and repeat back to the begin-ning. The second time through, you play the music again, skip over the first ending, take the second ending, and thencontinue on through the song.

This song also has a KEY CHANGE in the fourth line. Notice the key signature difference at the beginning of the fourth line.

Practice strumming the chords then soloing in the key of C using the Three Note on a String Technique.

Slow Ballad

ZZ ShufflePractice the chords using power chords. Practice soloing in E minor.

Remember that the key of E minor is the same as G major.Rock Shuffle





Chord MelodyA CHORD MELODY involves playing a melody in chords with the melody as the highest tone in the chord and all theother notes voiced beneath the melody note.

Moveable Major Seventh Chords

SESSION 18 93 Jazz


SESSION 18 - Jazz

“A jazz musician is a juggler who uses harmonies instead of oranges.”~ Benny Green - Jazz Saxophonist


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Fmaj7 Bmaj7 Bmaj7 Dmaj7 Emaj7 Gmaj7

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2fr.

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6th String Form 5th String Forms 4th String Forms

Open Major Seventh Chords

Moveable Minor Seventh Chords Ninth Chords

Ways to Jazz up Chord ProgressionsAdd Color Tones

A COLOR TONE is a tone added to the basic chord to create a more complex chord. Usually these added tones comedirectly from the major scale, but sometimes they can be major scale tones that have been altered such as a sharped9th. Remember that there are only seven notes in a major scale and then they repeat, so if you are referring to a ninth,this is actually the second scale step. The eleventh is the same as the fourth and the thirteenth is the sixth.

SESSION 18 94 Jazz


Amaj7 Cmaj7 Dmaj7 Fmaj7 Gmaj7

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2 1 1 1

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Fm7 Fm7 Cm7 Cm7 A9 C9

6th String Forms 5th String Forms 6th String Form 5th String Form

2 3 4 1 1 1 1

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3fr. 2fr.1 1

Adding the ii-V Progresion

Using the harmonized major scale, we learned that the chord built off of the second degree of a major scale is a minortriad. In C, the two (ii) chord would be a D minor. Also, the chord built off of the fifth major scale degree is a majorchord. In C, the five chord (V) would be a G major. This combination of a two minor chord to a five major chord is oneof the most common chord progressions in jazz. To get to any chord in a jazzy way you can approach it using the twominor and five major in the key of the chord you are going to.

Dress up the Dominant Seventh Chord

The fifth chord in the harmonized major scale is called a DOMINANT SEVENTH chord. The dominant seventh chord isabbreviated with the root and a 7 (ie C7, F7 or G7). This chord is almost always preceding the one chord. In C, a G7goes to a C chord. A dominant seventh chord can be jazzed up by adding color tones to it.

SESSION 18 95 Jazz


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SwinginA standard jazz form consists of playing the melody all the way through one time, then going back through the song soloing over the chord changes, then

playing the melody through all the way one last time.Medium Swing

SESSION 18 96 Jazz


· Practice the Major Seventh, Minor Seventh, and Ninth Forms. (pages 93-94)

· Practice the Chord Melody example in the book. Try to make up another melody adding chords to it. (page 93)

· Play through the chord progression exercises. (pages 94-95)

· Make up a melody and play it in jazz octaves.

· Play Swingin and Jazz Blues with the Jam Along CD. Practice playing the melody, chordal accompaniment,and soloing over the chord changes. (pages 96-97)

Jam Along CD #5Track 7Track 8 - Without Guitar

Jazz Blues

SESSION 18 97 Jazz



Where Do I Start?1) Look at the key signature.

2) Let the chord tones guide you.

3) Adjust to the style of the song.

4) Use finger patterns as a simple starting point.

5) Creativity involves lots of trial and error.

What makes up a good solo?1) Melody - You want to create something that is memorable.

2) Balance - All the pieces of the solo need to fit together.

3) Say Something - Avoid just musically mumbling. Find a musical idea and develop it. Take a few notes or a phraseand build something around it.

SESSION 19 98 Soloing


SESSION 19 - Soloing

“Music is your own experience, your thoughts, your wisdom. If you don't live it,it won't come out of your horn.”

~ Charlie Parker - Legendary Jazz Saxophonist “Don't play what's there, play what's not there.”

~ Miles Davis - Jazz Innovator and Trumpeter “In soloing, there are no wrong notes, just poor choices ”

~ Anonymous

Estimated Time to Learn These Concepts - 4 Weeks to a Lifetime

Determine what key you are in. This will tell you what major scale you coulduse to begin making a melody from. Then pick and choose notes from themajor scale in that key.

Ultimately, the chords and the chord tones they represent are the guide forwhat notes are going to sound right at any particular point in time.

Rock soloing incorporates lots of bends and pentatonic scales. Jazz soloingincorporates lots of color tones. Bluegrass soloing uses lots of sequentialsixteenth notes. Blues soloing uses pentatonic scales with blues notes.

Once you have the key, you can begin incorporating some of the many fingerpatterns we have studied in the proper key into your solo (pentatonic scales,scales with blues notes, three note on a string scales, etc.) Be careful,though... Finger patterns alone do not make for a very interesting solo.

All of this trial and error improves your ear to better decide which noteswork and which notes do not. Be patient with yourself. Everyone soundsbad at first, but slowly you start making better musical choices and morecreative melodies.

Chord Tone Soloing Exercises




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· Practice soloing on Stevie's Groove with the Jam Along CD. (pages 101)

· Practice Ear Training Exercises 1, 2, & 3 with the Jam Along CD. (pages 100)


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Ear Training ExercisesEach example will be played four times. Listen to the phrase in the first measure, then try to play it in the secondmeasure. The first note of each phrase is given. The exercises begin simply then increase in complexity. Look at

the chord for hints for the key and the chord tones that may be involved.



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Stevie’s GroovePractice playing the chord melody as written and practice soloing over the chord changes. There are two sections to

this song. The first section (A) will be repeated four times and then the second section (B) will be repeated twice.

Slow Blues Rock




Chord Formulas and AbbreviationsThe notes to any chord can be found by using the appropriate formulas and the major scale from the key of the chord.The chart below lists the formulas and abbreviations for almost every chord that you will ever see. A chord can be builtfrom the major scale notes and the correct formula. For example: If the chord is “Cm7”, the formula is 1-b3-5-b7 andthe key is “C”. So, when we plug in the right scale tones, the notes for a “Cm7” are C-Eb-G-Bb.

Chord Formula Example

TriadsMajor 1-3-5 C, F, GMinor 1-b3-5 Cm, C-Augmented 1-3-#5 Caug, C+Diminished 1-b3-b5 Cdim, C

7thsMajor 7th 1-3-5-7 CM7, Cmaj7, C^7Minor 7th 1-b3-5-b7 Cm7, C-7Dominant 7th 1-3-5-b7 C7, F7, G7Augmented 7th 1-3-#5-b7 Caug7, C+7Half-Dim. 7th 1-b3-b3-b7 Chalf-dim7, C 7Diminished 7th 1-b3-b5-bb7 Cdim7, C 7

Other ChordsTwo Chord 1-2-3-5 C2, F2Five Chord 1-5 C5, F5Suspended 1-4-5 CsusSixth Chord 1-2-5-6 C6, F6Minor 6th 1-b3-5-6 Cm6Six-Nine Chord 1-3-5-6-9 C6/9, C

Altered ChordsALTERED CHORDS are chords with chord tones that have been adjusted a half step up or down. The note that is to beadjusted is inside a parenthesis. Any alteration only applies to the note that is inside the parenthesis.

C7(b9)

F-11(b5,b9)SESSION 20 102 All The Chords You Need to Know


SESSION 20 - All The Chords You Need to Know

“If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it.”~ Jascha Heifetz - World Renowned Violinist


Chord Formula Example

9thsMajor 9th 1-3-5-7-9 CM9, Cmaj9, CMinor 9th 1-b3-5-b7-9 Cm9, C-Dominant 9th 1-3-5-b7-9 C9, F9Augmented 9th 1-3-#5-b7-9 Caug9, C+

11thsMinor 11th 1-b3-5-b7-9-11 Cmin, Cm11, C-Dominant 11th 1-3-5-b7-9-11 C11, F11

13thsMajor 13th 1-3-5-7-9-13 Cmaj , C^Minor 13th 1-b3-5-b7-9-13 Cm13, C-Dominant 13th 1-3-5-b7-9-13 C13, CAugmented 13th 1-3-#5-b7-9-13 Caug13, C+

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Formula:Chord Tones:

Formula:Chord Tones:

1 3 5 b7 b9C E G Bb Db

1 b3 b5 b7 b9 11F Ab Cb Eb Gb Bb

5

Inversions and Alternate Bass ChordsINVERSIONS are chords that use another one of the chord tones instead of the root as the lowest note of the chord.Inversions are notated with a slash. The note underneath the slash is the bass note. For example a G/B would indi-cate a G chord with the B as the lowest or bass note.

ALTERNATE BASS CHORDS are chords that have a non-chord tone as the lowest or bass note. For example a F/G wouldindicate an F chord with a G note as the lowest or bass note.

Chords

SESSION 20 103 All The Chords You Need to Know


What If I Don’t Know A Chord?If you come across a chord that you don't know, you can …

1) Build It - Build your own chord form constructing one from the chord tones used.

2) Look It Up - Research the chord online or with any all-in-one chord encyclopedia book.

3) Simplify it - Remove the color tones and break the chord down to the basic triad or seventh elements.


Chord Exercise 1



· Practice Chord Exercises 1 & 2 with the Jam Along CD. (pages 104-105)

· Learn and memorize all of the new chord forms. (page 103)

· Play Friend and Funky Groove with the Jam Along CD. (pages 105)


Chord Exercise 2

FriendStrum using the proper chords, then solo in E major.

Up Tempo Acoustic

Funky GroovePlay rhythm using the chords given, then solo in the key of Eb major. Try to use the correct chord tones for each

chord when soloing.Medium Funk






AcknowledgmentsI am thankful to the Lord for the unexpected opportunity to work on this project. I pray that it will be a blessing to those wholearn from it as well as to those of us who have labored to provide it.

I am thankful and grateful to my wonderful wife, Paulette, without whose constant encouragement this project would notexist. Your patience, wisdom, encouragement and support helped me to work harder and produce more than I ever thoughtpossible. I am a blessed man. Also, I am indebted to her for her much needed professional skills of proofreading, editing,and photography. Thanks to my wonderful kids, David, Daniel, and Timothy who knew Daddy as just the man at the com-puter for months. I pray that the time will be redeemed many times over.

To Gabriel Smith, thank you for the incredible opportunity to work with you on this. May the effort poured into this represent buta fraction of the blessing that it will be to those who learn from it as well as to our own lives and families.

To Jared and Nathan, thank you for your tireless professional efforts during the making of this project.

Thank you to my wonderful parents who faithfully paid for and took me to all those guitar lessons, even though, at times, Ibegged to quit.

And lastly, an all-too-late thank you to Johnny Frisco, my first and best guitar teacher who died during the completion of thisproject. I first walked into your lesson room, which was no bigger than a walk-in closet, a six year old with a guitar that wastoo big for me and came out after many years possessing the musical skills that have shaped my entire life.

CREDITS

Executive Producer:L. Gabriel Smith

Producer:Emily Garman

Director:Paul Williams

Director of Photography:Paul WilliamsCameron Powell



Cameral Operators:Bert ElliotAndy Reuter

Editors:Paul WilliamsCameron PowellBert ElliotShelley BoydAndy ReuterTyler Torti

Script Supervisor:Adria HaleyJamie Holmes

Book and Cover Design:Jared McDaniel, Studio430.comSpring Sprang, SpringSprang.com

Film Location:Legacy Learning Studios,Nashville, TN

Jam Along Band:Steve KrenzAbel OrtaJavier SolisDino PastinGarrett Hestia

Documents

Legacy Learning Systems - Weeblyephsmusik.weebly.com/uploads/5/7/0/4/57044145/learn-and-master... · SESSION 1- Starting Off Right SESSION 1 2 Starting Off Right Learn &Master Guitar